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Speedball 2 HD

Steam, DRM-Free, Windows

Speedball 2 HD is a modern reincarnation on the classic, futuristic cyberpunk sports game Speedball, originally developed by the Bitmap Brothers and first released for the Atari ST in 1990. A brutal mix of handball and ice hockey placed at break-neck pace. Now Tower Studios, Vivid Games and The Bitmap Brothers have created a glorious fusion of classic gameplay and modern technology to launch this game into the 21st century.

In 2326, rival gangs formed an ultra-violent street sports league called Speedball to settle their deadly disputes. Two teams face each other in bloody battles for a steel ball: Nine on nine ñ in an all-out rush on the opponentsí goal. Almost any malicious move is permitted. The winner of the matches secures supremacy over the city.
The highly anticipated PC revival to the legendary Amiga classic transforms the futuristic game setting with state-of-the-art technology into a high-speed sports spectacle.
There are a huge variety of game modes and options - quick matches, single player tournaments, one-on-one multiplayer and full career mode. Your ultimate mission is to assemble your own Speedball team to win the Speedball Intergalactic Champions League and bring the greatest prize in Speedball back to Earth.
Choose from 28 teams across 6 new Speedball Arenas, Speedball 2 HD includes all the intense gameplay of the original with new teams, more formations and in particular the new Fire, Ice and Cyber teams.

little scale - Drill The Hand EP

little-scale has a PhD in chip music, and has played in New York, Mumbai, Tokyo and Melbourne at events such as TechFest, Blip Festival, Sound Bytes and Square Sounds. He makes things that make music.

Retro Arcade Adventure Remade

Desura, DRM-Free, Windows

Retro styled Hack and Slash action with a fire breathing variety of Power Ups and huge bosses.
Retro Arcade Adventure Remade is a one screen hack and slash arcade type game.

You are running around on one screen and hack your way through waves of enemies. There are over the top Power Ups that will help you in special ways,
like transformin you into a giant dragon and let you breath fire all over the place and your enemies heads.

Diode Milliampere - YMF262

Diode’s latest EP, YMF262, is named after his laptop’s sound chip, which uses FM synthesis, a method that’s often perceived as sounding sterile. But on tracks such as the watershed “Aquarius,” which has garnered more than 400,000 YouTube plays, he coaxes extraordinary warmth and expressiveness from his digital axe—the track sounds as good as any big-budget EDM production. And the rest of the nearly 15-minute EP doesn’t disappoint, running the gamut from bouncy pop (“On Planet Zaxxon”) to brief mood pieces (“ADR1FT”) and experiments in sound design (“NULL”).

Well, he did make it to the front page of Reddit. And a February profile on Vice’s Thump site raves about his “thick, futuristic dance jams that are too rich to simply be called ‘chiptune’,” noting the music’s “depth and complexity.” And guess what? He pulls all this off using a tiny, 15-year-old laptop on tracker software running in MS-DOS.

Computec Media is celebrating its 25th birthday with “Games Music History”, a compilation of some of the greatest classics of video game music – including Rob Hubbard, Martin Galway, Ben Daglish, Chris Huelsbeck and Sound of Games.

The idea of Sound of Games was born in 2009 to create the best game music in the world. We work on top of the latest innovations in technology and business models. Hollywood orchestras, class A musicians and high end studio gear are the standard for the premium game music that we produce. Every piece of game music is an exclusive, handcrafted masterpiece and never used twice. We perform our popular game music live on the stages of the big international Game Events and make them available on online music platforms.

Right now, Sound of Games has more than 50 Mio. listeners every month (May 2014). The following titles by Sound of Games have hit the German Game Charts and Music Charts:

­ Games Music History:

8 in the soundtrack charts, #30 dance & electro charts

­ Lords & Knights:

This game already has over 6.000.000 downloads and went into the Top 10 grossing iOS Charts in 42 Countries.

­ Celtic Tribes:

Launched in 2012, Celtic Tribes went into the top hundred in 41 countries. Our Original Soundtrack went #1 on Amazon top risers and #4 in the Folk Music Charts.

­ The Last Ninja:

On C64, The Last Ninja has been the bestselling game of all times. Sound of Games’ remix became #19 in the dance charts.

­ Sound of Games Vol.I:

Our first album went #23 in the soundtrack charts and was the world’s first game music with a chart entry ever!

Chester One

DRM-Free, Steam, Desura, Windows

Chester is a 2D platformer with over 10 unlockable characters, a light RPG element and leveling up system, loads of unlockables, around 50 levels, and 8 “styles” that allow the player to change the look of the game at will. These styles include sketchbook, 8-bit, LCD, blueprints, and many more. They also each give a unique gameplay bonus to the player. The game also includes 4 difficulty levels so that almost anyone can beat the game or get a very challenging experience out of it.

Dynablaster Revenge

DRM-Free, Windows, Linux

Dynablaster Revenge is a remake of the title Dynablaster, released by Hudson Soft in 1991. The goal of this remake is to keep the original game-play as untouched as possible while adding some new features such as networked multiplayer and real-time 3D rendering. In case you’re not yet familiar with the original game goal, it’s quite simple: Bomb all other players from the screen. Either by collecting flame extras to increase the bomb radius or by picking up bomb extras in order to have more bombs to drop you’re able to surround your enemies with your bombs, or blow them away with clever bomb chain reactions.

System Requirements:

To run the game you need a video-card with OpenGL 3.0 support and at least 512MB of video memory.

The Dynablaster Revenge OST is a compilation of remixes as well as new tracks from some of the most well-known artists of the demoscene. It contains remixes of the original Dynablaster soundtrack - amongst others, a remix from Romeo Knight who created the original Dynablaster OST. Also a lot of fresh tracks varying from punk to dubstep from scene legends like Skaven, JCO or C.C.Catch are included.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things:
Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery.
Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work:
While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames.
After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute:
His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

John Foxx and Bomb the Bass’ Tim Simenon went on to work with Shem McAuley, Kurt Rogers and Simon Rogers on what would become the Electrofear album. Unfortunately the album was never finished, despite releasing two singles (“Remember” and “Electrofear”) and it remained unreleased until 2005. Good cassette recordings of the Electrofear material finally surfaced courtesy of a dedicated long-time Foxx fan, and went on to become the final CD issue of the Nation 12 project.

Electrofear is an unusual collection of finished tracks and rough demos, built around heavy drum loops with occasional injections of hip hop and early 90s dance influence. Electrofear fills a large gap in Foxx’s musical career, and several tracks, “Cities of Light 1”, “Leaving”, “Concrete, Bulletproof, Invisible” and “Invisible Women” later went on to be fully formed songs on Foxx’s solo albums, Shifting City and The Pleasures of Electricity. Tracks such as “Nation 12” and “Remember” formed the foundations for the style of Foxx’s future work, with a harder hitting electronic edge, yet the vocal tracks on Electrofear still manage to echo a psychedelic style similar to The Golden Section.

The incomplete or ‘demo’ feel to some of the tracks comes as no surprise and actually adds to the charm of this much longed-for recording. Kraftwerk homage “Florian” is one of several standout tracks, along with “Into the Wonderful”, “She Was” and “Your Kisses Burn”. These tracks also have the makings of fantastic, long lost pop songs, with Foxx on full form as a vocalist.

In 1989 John Foxx collaborated with Tim Simenon of Bomb the Bass, on a musical project called Nation 12, and although two singles were released, the album never saw completion, although one track, “Into the Wonderful” was sampled for a popular video game, Gods.

Remute Live Streaming DJ Set

MP3, FLAC

Remute Live DJ Set will be streamed on THIS page at 23:00 Central European Time on Thursday June, 19 and will be available for download afterward.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things:
Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery.
Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work:
While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames.
After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute:
His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

Bonus Section

As promotion goals are achieved, bonuses are unlocked for everyone.

Unlocked

Remute Live Streaming DJ Set

MP3, FLAC

Remute Live DJ Set will be streamed on THIS page at 23:00 Central European Time on Thursday June, 19 and will be available for download afterward.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things:
Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery.
Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work:
While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames.
After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute:
His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

John Foxx and Bomb the Bass’ Tim Simenon went on to work with Shem McAuley, Kurt Rogers and Simon Rogers on what would become the Electrofear album. Unfortunately the album was never finished, despite releasing two singles (“Remember” and “Electrofear”) and it remained unreleased until 2005. Good cassette recordings of the Electrofear material finally surfaced courtesy of a dedicated long-time Foxx fan, and went on to become the final CD issue of the Nation 12 project.

Electrofear is an unusual collection of finished tracks and rough demos, built around heavy drum loops with occasional injections of hip hop and early 90s dance influence. Electrofear fills a large gap in Foxx’s musical career, and several tracks, “Cities of Light 1”, “Leaving”, “Concrete, Bulletproof, Invisible” and “Invisible Women” later went on to be fully formed songs on Foxx’s solo albums, Shifting City and The Pleasures of Electricity. Tracks such as “Nation 12” and “Remember” formed the foundations for the style of Foxx’s future work, with a harder hitting electronic edge, yet the vocal tracks on Electrofear still manage to echo a psychedelic style similar to The Golden Section.

The incomplete or ‘demo’ feel to some of the tracks comes as no surprise and actually adds to the charm of this much longed-for recording. Kraftwerk homage “Florian” is one of several standout tracks, along with “Into the Wonderful”, “She Was” and “Your Kisses Burn”. These tracks also have the makings of fantastic, long lost pop songs, with Foxx on full form as a vocalist.

In 1989 John Foxx collaborated with Tim Simenon of Bomb the Bass, on a musical project called Nation 12, and although two singles were released, the album never saw completion, although one track, “Into the Wonderful” was sampled for a popular video game, Gods.

Hamburg-based Techno artist Remute has a very ‘technological’ approach to this genre - intense interaction with technology made him do the most amazing things:
Remute’s career began in the early 2000s with his first EP ‘Hypnoconsole’ which unmistakably drew inspiration from the flickering world of early 80s and 90s computergames and acid-filled rave-sequences mixed up in a timeless punky DIY-way - even in 2017 ‘Hypnoconsole’ is still considered as a ‘punk techno’ reference by Bandcamp. The success of his first release made Remute tour for years and perform at acclaimed festivals and clubs like for example Golden Pudel and Berghain. Various contemporary high-profile labels got aware of Remute - in 2006 he released his self-titled debut album via the legendary label ‘Ladomat’ from Hamburg. After several further releases on labels like Tresor, Traum, Smallville or Bedrock Remute founded his very own Remute-label in 2008. The first release of the label, ‘Zuendli’, became an instant hit and is considered as one the most successful and celebrated tracks of the minimal techno era of the late 2000s. More punchy club hits and BBC1 favourites like the cheeky acid-house banger ‘Lampuca For Me’ or the spacey open air techno anthem ‘Gravity?’ followed and Remute also became a busy remixer for artists like GusGus, Solomun, Dominik Eulberg or Daniel Avery.
Driven by the urge to push the boundaries of TECHNOlogy, it was never enough for Remute to deliver dancefloors hits only. Since the beginning of his career Remute was the sole ruler of his artistic vision and no managers, no agents and no producers were ever allowed to interfere with his work:
While others in the early 2010s were busy to jump on the EDM-bandwaggon and took the first opportunity to sell out, Remute devoted himself to commercially risky and artistically uncompromising projects like ‘24’, which is a 24 hour long ambient recording (named by Mixmag as a ‘24 hour anthem’) and ‘REMUTE24’, a series of digital music releases remixing news headlines running for over 6 years, week by week, non-stop. Additionally he released highly successful J-Pop with his song ‘Play The Game’, recorded a Cyberpunk-esque soundtrack for the classic silent film ‘Metropolis’ with his 2014 album ‘Yoshiwara’ (got him ‘Album Of The Month’ honours in Mixmag) and was very active as a soundtrack-producer for several videogames.
After over 15 years in music business and countless gigs from Miami to Moscow to Tokio, 2018 is a pivotal year for Remute:
His album ‘Limited’, a hybrid release consisting of 7” vinyl and a 3,5” floppy disk, is regarded as a trailblazer of a strong floppy disk comeback… as a valid music format! With some clever usage of technology and creative dealing with the data limitations of this format, Remute once more succeeds in establishing his very own technologic sound aesthetics and setting new distinctive trends for unique performances while constantly questioning the status quo. Besides getting enthusiastically labelled as ‘limited techno’ by CBC, the Los Angeles Times also points out that he is Techno’s only true Disk Jockey - literally.

Announcements

Thank you for checking out the Crack, Games, and Techno Bundle, curated by Remute. Click “Donate to Charity” when you buy for 20% of your contribution to be donated to the German Red Cross for Balkan Flood support.